They worked at places like The Macambo, on the Sunset Strip and La Papillon. group in Europe with actor George Raft and singers Louise Albritton and June Clyde.

When Phil worked there, Howard Hughes had the best table in the house, and it was reserved every night for him. No matter how crowded the place was, that table was empty. The troupe toured England and North Africa, and spent time in Italy.

Colin was in the group that was opening for Brubeck. I knew he had tremendous chops, but when I saw and heard him play in person, I just had to have that technique.

Joe Pass had recently signed with World Pacific Jazz records.

Using the same personnel (Clare, Albert and Colin) the album Catch Me was recorded. and on the road was extensive, playing and recording with, among others: Joe Pass, Victor Feldman, Joe Williams, Benny Goodman, George Shearing, Chet Baker, Hampton Hawes, Jim Hall, Red Mitchell, Roger Kellaway, Phil Woods, Pete Jolly, Ray Brown, Tommy Flanagan, Terry Gibbs, Buddy De Franco, Jimmy Rowles, Barney Kessel, Herb Ellis, Joao Gilberto, Peggy Lee, Tony Bennett, Coleman Hawkins, Gerry Mulligan, Michel Legrand, Dave Grusin, Harry ‘Sweets’ Edison, Clare Fischer, and Blossom Dearie. sound tracks that include: Emmy Awards, Fred Astaire Easter Show, Julie Andrews Show, Merv Griffin, and The Charlie Brown Christmas and A Boy Named Charlie Brown (Linus and Lucy specials with Vince Guaraldi.) He subbed for Ed Shaughnessy on the Tonight Show with Johnny Carson for six years, and the Carol Burnett Show. shows he played for every kind of music, from Beverly Sills (Opera) to James Brown.

He also played on albums by Mel Torme, Peggy Lee, and Rosemary Clooney.

In the 70s, a young, talented crowd of guitarists raised their axes and slowly began to dominate.

In 1989 Joe Pass started up the Quartet that recorded For Django again. As Colin says “It was a bonus in life to have had that time playing with Joe and the group again.”Colin has toured extensively in the U. A., Japan, Europe, South America and Canada, with Benny Goodman, George Shearing, Richie Cole, Vic Damone, Ernestine Anderson, Al Hirt, Doc Severinsen, Carol Sloane, Susannah Mc Corkle and Joe Pass. Bain earned his place as the number one guitarist for many Hollywood studios in the 1950s and 60s.

They did seven recordings, and played the Blue Note clubs in Japan as well as venues in the U. He played on countless jingles, albums, and soundtracks for television and movies. Records by Frank Sinatra, including Young At Heart and Ive Got You Under My Skin, featured Bain on guitar, as did records with his favorite male vocalist, Nat King Cole including Unforgettable.

It was titled Surging Ahead and got 5 stars in Down Beat.

That session led to another important connection in Colin’s career.

He was so gracious, showing me the George Lawrence Stone finger control technique. I put in many hours every day trying to get it down, (I am still practicing mastering it! I had a lot more control with volume, and could play quietly with intensity, something that is tough for a lot of drummers. During this period, the trio played with such jazz greats as Ben Webster, Jimmy Witherspoon, and Gene Ammons. In January of 1963, he got a call from Victor Feldman who asked if he would be interested in going to Los Angeles to play a steady gig with his trio. The exposure of playing with Victor was tremendous.

Joe and I have been the best of friends ever since.”Jazz Impressions of Black Orpheus In 1961, Colin emigrated to the U. In February of 1962, the record Jazz Impressions of Black Orpheus was made, featuring the tune “Cast your fate to the Wind” which was Vince’s composition. Victor had heard the record and wanted Colin to be a member of his group. Local and visiting musicians would come into the club on Sunset Boulevard called The Scene to hear the trio play.

So we did this record with Sinatra called Bop Goes My Heart, a sort of novelty bop recording.